90 HJALMAR THUREN. 
Attention may be called particularly to the melodies which are 
based upon the first, fourth and fifth (C—F—G) as main tones. The 
fifth C—G is in most cases a pure fifth (52, 68, 69, 71, 73, 120, 129), 
but the division of the fifth interval is only in half the cases C—F 
or pure fourth and F—G, major second; in the. other cases the fifth 
consists of 21/41 11/4 tones ог 27/41 3/4 tones. 
Whilst we Europeans are accustomed to the conclusion of the 
melody being sung somewhat lower than the beginning, the opposite 
is the case among the Greenlanders. If there is any change, the 
melody rises, resulting clearly from the increasing eagerness of the 
singer the longer he sings. In general, however, the intervals are 
constant throughout the melody, and we can only wonder at the 
accuracy with which the Eskimo strikes the same tones. 
The accompanying list has been drawn up to give a view over 
the range and tones of all the East Greenland melodies recorded. 
The melodies are arranged according to the tone-numbers and all of 
them are transposed, so that those having the same interval features 
are given in the same key. The underlined letters indicate the tonus 
currens of the melody; the tone which concludes the melody is 
indicated by a ‘; round brackets show that the tones in question 
are transitional tones, which are only of subordinate importance 
for the progress of the melody; square brackets, that the tone only 
occurs once. A + means, that the tone lies about 14/4 of a tone 
above that indicated, — that it lies about !/ı of a tone lower. The 
second-last column indicates the range of the melody, the last column 
indicates the number of tones. 
List of tones in the melodies. 
Nos. Lower notes Na Higher notes Pi ne 
27 EEG SR 
5 ее 2 2 
15 Fo G Be 
93 N АВ С min.3 8 
12 A a _ + min. 3 2 
116 E F G min. 3 3 
24 BR MORIN 3 8 
25 FQ) G А (3) 3 
30 2 т A ae 
28 A CORED: д 3 
17 A: CLD eB 
